Depressed divorcèe, Roslyn Tabor (Monroe), and Gay Langland (Gable), an aging ex-cowboy, who survives by rounding up and catching mustangs (and selling them to slaughterhouses). Wallach plays Guido, Langland's pilot partner, and Clift plays Perce Howland, a drifter rodeo rider.Written by
When Gable, Monroe, and Clift look at the horses in the distance with the binoculars, all three of them hold the binoculars upside down (but they still work, of course). See more »
Young man, do you have the time? I got six clocks in the house and none of them work.
Twenty after nine.
After? It's twenty after, dear. Dahlin'. Five minutes.
What about you?
I'm all set, I just tyin' my sling. The lawyer said nine thirty sharp, dahlin'.
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Opening credits are shown on and around puzzle pieces. See more »
Despair and a glimmer of hope served up by legends
This movie is about despair. Despair at the passing of a way of life. Despair at disappointed hopes and dreams. Despair at the loss of a loved one, either through death, divorce or disinterest. Knowing that going in and if you don't mind downbeat films there are some really moving performances from a cast full of legends.
Heavy with gloom there is still much too admire though Miller's prose is at times heavy and tending towards pretension. Marilyn's woozy sexuality coming through a haze of pills and booze at times still suits her character's searching and displaced loneliness.
Clark Gable accepted his part after first choice Robert Mitchum passed. Mitchum would have been great of course and publicly stated he regretted not taking the role since he and Marilyn were longtime friends, before both were famous he had worked with her first husband, and he felt that around him she would have been able to pull herself together as she had on River of No Return. This was the end of the line for Gable and his weathered appearance and weariness actually suits the role better than Mitchum's ruggedness would have at that point. The film contains some of the best acting Clark ever did.
Clift and his sad broken looks make a powerful impact and Wallach scores well too but the great Thelma Ritter is somewhat shortchanged since she disappears about halfway through the picture. Her astringent tartness would have been most welcome later in the film when the real heavy going takes place.
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